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The Day of the Locust (1975)

Tod Hackett, fresh out of Yale, wants to make it as an art director in late 1930's Hollywood - but he finds himself increasingly distracted by his new neighbor Faye, a would-be starlet with possible designs of her own on a lonely, morose accountant. As Tod is drawn deeper into the lurid private lives of studio bosses and film industry workers, he gradually becomes desperate to know if Faye - or anyone - is capable of real love. (imdb)

Highly flammable neurosis at sunny, sleazy Hollywood in the 30s, where dreams turn to a nightmare. Content sedately playing with matches for two hours, catches fire at the end. Acquired taste. Take it or leave it. Thank your lucky stars if you watched MULHOLLAND DR. first.

This film has a very good point to make: that, in certain conditions, enough individual malice and stupidity will catalyse into extremely destructive group behaviour. Almost everything else about the movie is, however, catastrophically bad. William Atherton bore a strange resemblance to a leaner Ben Affleck, Donald Sutherland bore less resemblance to Homer Simpson, and Karen Black's overacting in a terrible role was painful to behold. I felt a desire to trample all the characters to death.

This charming ode to the "Golden Age of Hollywood" delivers warmth and romance, with Donald Sutherland turning in a sexy-cool performance while still managing to be good with the kids. Perfect for a first date but also fun for the whole family.

I didn't care about this at all. The only time is it good is when it goes batshit crazy in the last 20 minutes. Could care less for the characters except for Sutherland's Homer Simpson. Jackie Earle Haley does a good job of portraying an annoying brat.

Features what just might be the most monstrously aggravating character in the history of cinema. As well as the most troubling instance of catharsis I've been subjected to in a film. It's such a shame that 'The Day of the Locust' is so dreadfully underseen, for it is a well-directed curiosity which probably has a decent shot at earning a place in my personal top-20 of the '70s.

Everything until the last fifteen minutes is completely unwatchable, the last fifteen minutes is alright. None of the characters are likable, the plot is mostly boring, actually everything in here is downright despicable.

At times, John Schlesinger does for Hollywood what Fellini's SATYRICON did for Rome: transforms it into a surreal, immoral madhouse. This is most evident in the brilliant final scene, where a premiere turns into a riot which resembles the hero's (William Atherton) apocalyptic paintings. But Waldo Salt's script badly lacks focus, and the film is frustratingly incosistent as a result. Still, there's enough here to hold the attention: fine acting, lavish production, and Schlesinger's inventiveness.

*Possible spoilers* Starts off well as a scathing satire of Hollywood wannabees, but loses momentum. For two hours it wanders aimlessly through the desert of the dull, finding too few oases of the laudably weird, until finally agreeing with itself that it wants to be Ken Russell directs 'Night of the Living Dead'. For those two hours of tedious plot suspension it should be loathed, but essentially it is as they say: All is well that ends like this one does.

It's difficult, what with Mulholland Drive being so visually and thematically similar and yet so clearly superior, to call this essential viewing. It's still pretty good, though, and worth watching just to see Donald Sutherland play a character named Homer Simpson. And of course for that truly insane ending.

Wow. Essential viewing for admirers of Barton Fink, Mulholland Dr, or anyone interested in a depraved, intoxicating look at early Hollywood. Fantastic actors, direction, & a whirlwind of an ending included.

One of a kind. The cast alone is worth the price of admission, with Black, bizarre as always, Atherton, a quietely menacing whisp of a person and Sutherland stealing every scene he's in almost without uttering a word. Add to that Meredith and Page in (over the) top form, Haley as an androgynous, obnoxious child and William motherfucking Castle himself. All this couched in a deeply nihilistic anti-Tinsel Town fable foreshadowing Mulholland Dr. among others. Weird, but a must see.

Beautifully directed adaptation, with a satisfying cast (some of the supporting is meh, Atherton is good and Sutherland - as Homer Simpson, no less! - is riveting as usual). There is so much to like about the oddball plot, but sadly it's a bit too elaborate for its own good, while lacking narrative integrity. Just when you think you've wrapped your head around it, comes the nicely horrific but totally disorienting climax. It's almost a fable decrying Hollywood decadence, but there's more in it.